Paris+ Week | Featured Exhibitions
Paris+ par Art Basel kicked off today at the Grand Palais Éphémère, running through Sunday (18), and there’s no shortage of incredible exhibitions to visit during the fair.
Check out the highlighted exhibitions selected by our advisors Camila Yunes Guarita and Teodoro Bava:
Daniel Buren & Michelangelo Pistoletto at the Palais d’Iéna
The exhibition brings together two artists with exceptional careers and their latest creations: Daniel Buren (France, 1938) with Allegro, ma non troppo, travail in situ (2023), and Michelangelo Pistoletto (Italy, 1933) with Divisione – Moltiplicazione (2023). Since the early 1960s, their works have been exhibited in major museums, institutions, and galleries around the world. Commissioned by art historian Matthieu Poirier and supported by Galleria Continua, the project introduces a unique dialogue between the two artists, responding to the distinctive architecture of the Palais d’Iéna, designed by Auguste Perret in 1937. The art engages with the building’s angles, its vast spaces, the subtle polychromy of its exposed concrete, its exceptional luminosity, its urban surroundings, the interplay of perspectives and levels, and its complex symmetry.
The exhibition brings together two artists with exceptional careers and their latest creations: Daniel Buren (France, 1938) with Allegro, ma non troppo, travail in situ (2023), and Michelangelo Pistoletto (Italy, 1933) with Divisione – Moltiplicazione (2023). Since the early 1960s, their works have been exhibited in major museums, institutions, and galleries around the world. Commissioned by art historian Matthieu Poirier and supported by Galleria Continua, the project introduces a unique dialogue between the two artists, responding to the distinctive architecture of the Palais d’Iéna, designed by Auguste Perret in 1937. The art engages with the building’s angles, its vast spaces, the subtle polychromy of its exposed concrete, its exceptional luminosity, its urban surroundings, the interplay of perspectives and levels, and its complex symmetry.
Jérome Manoukian/Musée Rodin
Antony Gormley: Critical Mass at the Musée Rodin
Titled Critical Mass, the exhibition at the Musée Rodin activates all areas of the museum. Featuring key works from Gormley’s career in dialogue with Rodin’s own sculptures, the show invites visitors to reflect on both sculptors and their shared commitment to questioning what the body offers to sculpture as subject, object, and reflective tool. At the center of the exhibition is Critical Mass II (1995), an installation composed of sixty life-size sculptures that punctuate both the temporary exhibition spaces and the museum’s garden. In this major work, the artist isolates twelve fundamental positions of the human body, casts each one five times, and then arranges them in different configurations, sometimes with contradictory or absurd effects. Crawling, crouching, kneeling, and standing, the installation unfolds in the garden with a line of the twelve positions that culminates at Rodin’s Gates of Hell. Quer que eu também adapte os títulos das obras (As Portas do Inferno, por exemplo) para o inglês padrão usado em catálogos internacionais, ou prefere manter em português com tradução entre colchetes?
Titled Critical Mass, the exhibition at the Musée Rodin activates all areas of the museum. Featuring key works from Gormley’s career in dialogue with Rodin’s own sculptures, the show invites visitors to reflect on both sculptors and their shared commitment to questioning what the body offers to sculpture as subject, object, and reflective tool. At the center of the exhibition is Critical Mass II (1995), an installation composed of sixty life-size sculptures that punctuate both the temporary exhibition spaces and the museum’s garden. In this major work, the artist isolates twelve fundamental positions of the human body, casts each one five times, and then arranges them in different configurations, sometimes with contradictory or absurd effects. Crawling, crouching, kneeling, and standing, the installation unfolds in the garden with a line of the twelve positions that culminates at Rodin’s Gates of Hell. Quer que eu também adapte os títulos das obras (As Portas do Inferno, por exemplo) para o inglês padrão usado em catálogos internacionais, ou prefere manter em português com tradução entre colchetes?
Mark Rothko at the Fondation Louis Vuitton
The Fondation Louis Vuitton presents the first retrospective in France dedicated to Mark Rothko (1903–1970) since the exhibition held at the Musée d’Art Moderne de la Ville de Paris in 1999. The retrospective brings together around 115 works from major international institutional collections, including the National Gallery of Art in Washington, D.C., Tate in London, and The Phillips Collection in Washington, D.C., as well as international private collections, including the artist’s family collection. Displayed chronologically throughout all the Foundation’s galleries, the exhibition traces the artist’s entire career—from his early figurative paintings to the abstract works for which he is best known today.
The Fondation Louis Vuitton presents the first retrospective in France dedicated to Mark Rothko (1903–1970) since the exhibition held at the Musée d’Art Moderne de la Ville de Paris in 1999. The retrospective brings together around 115 works from major international institutional collections, including the National Gallery of Art in Washington, D.C., Tate in London, and The Phillips Collection in Washington, D.C., as well as international private collections, including the artist’s family collection. Displayed chronologically throughout all the Foundation’s galleries, the exhibition traces the artist’s entire career—from his early figurative paintings to the abstract works for which he is best known today.
“I see no difference between a handshake and a poem” at Mendes Wood DM Paris
Inaugurating its Paris headquarters, the Brazilian gallery Mendes Wood DM presents the group exhibition curated by Fernanda Brenner, I see no difference between a handshake and a poem, featuring artists such as Lucas Arruda, Marguerite Duras, Paloma Bosquê, Lygia Pape, among others. “By occupying a house on the oldest planned square in Paris, Place des Vosges, the works brought there for exhibition—or created specifically for that site—mark the transformation of a former residence and a long-closed psychoanalytic clinic into a new contemporary art gallery. Like anonymous handprints on a cave wall, they leave traces in another time, touching someone else’s memories and listening to persistent voices to shape an elliptical and allusive environment. Forms continually interrupt and complement each other, as if many hands overlapped with a strange coherence that is not that of narrative.” — excerpt from Fernanda Brenner’s curatorial text.
Inaugurating its Paris headquarters, the Brazilian gallery Mendes Wood DM presents the group exhibition curated by Fernanda Brenner, I see no difference between a handshake and a poem, featuring artists such as Lucas Arruda, Marguerite Duras, Paloma Bosquê, Lygia Pape, among others. “By occupying a house on the oldest planned square in Paris, Place des Vosges, the works brought there for exhibition—or created specifically for that site—mark the transformation of a former residence and a long-closed psychoanalytic clinic into a new contemporary art gallery. Like anonymous handprints on a cave wall, they leave traces in another time, touching someone else’s memories and listening to persistent voices to shape an elliptical and allusive environment. Forms continually interrupt and complement each other, as if many hands overlapped with a strange coherence that is not that of narrative.” — excerpt from Fernanda Brenner’s curatorial text.
Divulgação/Mendes Wood DM
Thomas Lannes
Giuseppe Penone: Impronte di luce / Empreintes de lumière at Gagosian Paris
The exhibition focuses on an entirely new body of paintings, unprecedented in the artist’s more than fifty-year career. Inspired by Penone’s experience at Le Corbusier’s Couvent Sainte-Marie de La Tourette in Éveux, France, these canvases are shown alongside the prints used in their making; an artist’s book, Le Bois Sacré du Couvent de La Tourette (2022), which gathers imprints taken from the concrete walls with wood grain of the building; and other graphic and sculptural works. Penone’s complex and long-standing relationship with the convent—he visited it repeatedly and exhibited there in 2022—sparked a dialogue that led to these new paintings. Working with paint—a medium relatively unfamiliar to him—and drawing on Le Corbusier’s palette of sixty-three colors for “architectural polychromy,” the artist once again employed a process of imprinting and tracing. First stamping sections of his hands in ink onto paper to generate forms suggesting human or animal figures, he then projected the drawings onto canvases, reproducing them on a larger scale in oil paint.
The exhibition focuses on an entirely new body of paintings, unprecedented in the artist’s more than fifty-year career. Inspired by Penone’s experience at Le Corbusier’s Couvent Sainte-Marie de La Tourette in Éveux, France, these canvases are shown alongside the prints used in their making; an artist’s book, Le Bois Sacré du Couvent de La Tourette (2022), which gathers imprints taken from the concrete walls with wood grain of the building; and other graphic and sculptural works. Penone’s complex and long-standing relationship with the convent—he visited it repeatedly and exhibited there in 2022—sparked a dialogue that led to these new paintings. Working with paint—a medium relatively unfamiliar to him—and drawing on Le Corbusier’s palette of sixty-three colors for “architectural polychromy,” the artist once again employed a process of imprinting and tracing. First stamping sections of his hands in ink onto paper to generate forms suggesting human or animal figures, he then projected the drawings onto canvases, reproducing them on a larger scale in oil paint.
Mike Kelley: Ghost and Spirit at the Bourse de Commerce – Pinault Collection
This new retrospective dedicated to one of the most influential American artists of the late 20th and early 21st centuries offers a fresh perspective on a major body of work that has always resisted easy categorization, presenting some of his most important pieces, several of which belong to the Pinault Collection. Ghost and Spirit unfolds as a sequence of different works and immersive environments created by the artist, including the spectacular Kandors—futuristic cities under glass domes—on view in the Rotunda. The exhibition also highlights what Kelley referred to as the “Minor Histories” of his practice: drawings, photographs, and preparatory writings that shed light on his thought process. Mike Kelley’s work has always drawn from subcultural references and from a tension between the depth of critical thought he cultivated and the apparent superficiality of a pop aesthetic that played with notions ranging from seduction to trash. He also consistently underscored the role of the artist and the ways in which that figure appears—or disappears.
This new retrospective dedicated to one of the most influential American artists of the late 20th and early 21st centuries offers a fresh perspective on a major body of work that has always resisted easy categorization, presenting some of his most important pieces, several of which belong to the Pinault Collection. Ghost and Spirit unfolds as a sequence of different works and immersive environments created by the artist, including the spectacular Kandors—futuristic cities under glass domes—on view in the Rotunda. The exhibition also highlights what Kelley referred to as the “Minor Histories” of his practice: drawings, photographs, and preparatory writings that shed light on his thought process. Mike Kelley’s work has always drawn from subcultural references and from a tension between the depth of critical thought he cultivated and the apparent superficiality of a pop aesthetic that played with notions ranging from seduction to trash. He also consistently underscored the role of the artist and the ways in which that figure appears—or disappears.
Amedeo Modigliani: "A Painter and His Dealer" at the Musée de l'Orangerie
Almost a century after the two men first met in 1914, this exhibition aims to revisit one of the iconic moments in Amedeo Modigliani's life, when Paul Guillaume became his dealer. The focus will be on exploring how the connections between the two figures can shed light on the artist’s career. In addition to the five Modigliani paintings currently held at the Musée de l’Orangerie, more than one hundred canvases, as well as fifty drawings and around ten sculptures by the artist, would have passed through the dealer’s hands. These figures demonstrate Guillaume’s level of involvement in promoting the artist, as well as his personal taste for his works, which were prominently displayed across the walls of his various apartments. Through this selection of iconic works, the exhibition discusses the diverse characteristics of this body of work; at the same time, it will explore the connections between the painter and his dealer within the Parisian artistic and literary context of the 1910s, as well as Paul Guillaume’s role in promoting Modigliani’s work in the 1920s art market, both in France and the United States.
Almost a century after the two men first met in 1914, this exhibition aims to revisit one of the iconic moments in Amedeo Modigliani's life, when Paul Guillaume became his dealer. The focus will be on exploring how the connections between the two figures can shed light on the artist’s career. In addition to the five Modigliani paintings currently held at the Musée de l’Orangerie, more than one hundred canvases, as well as fifty drawings and around ten sculptures by the artist, would have passed through the dealer’s hands. These figures demonstrate Guillaume’s level of involvement in promoting the artist, as well as his personal taste for his works, which were prominently displayed across the walls of his various apartments. Through this selection of iconic works, the exhibition discusses the diverse characteristics of this body of work; at the same time, it will explore the connections between the painter and his dealer within the Parisian artistic and literary context of the 1910s, as well as Paul Guillaume’s role in promoting Modigliani’s work in the 1920s art market, both in France and the United States.
Alvaro Barrington: "They Got Time: YOU BELONG TO THE CITY" at Thaddaeus Ropac Paris
The solo exhibition by Alvaro Barrington (Venezuela, 1983), "They Got Time: YOU BELONG TO THE CITY", unfolds across three rooms or “chapters.” Each represents different aspects of the artist’s experiences growing up in New York as the child of Grenadian and Haitian migrant workers, conveyed both through the lens of his personal history and through references that are part of the collective consciousness.
The solo exhibition by Alvaro Barrington (Venezuela, 1983), "They Got Time: YOU BELONG TO THE CITY", unfolds across three rooms or “chapters.” Each represents different aspects of the artist’s experiences growing up in New York as the child of Grenadian and Haitian migrant workers, conveyed both through the lens of his personal history and through references that are part of the collective consciousness.
Divulgação/Thaddaeus Ropac
Peter Doig: "Reflets du siècle / Reflections of the Century" at the Musée d'Orsay
Born in Edinburgh in 1959, Peter Doig is considered one of the most important living painters. The artist has not held a solo exhibition in France for fifteen years. A frequent visitor to and great admirer of the Musée d’Orsay’s collections, Peter Doig accepted Christophe Leribault’s invitation and chose to present some of his major works within the exceptional setting of the museum’s vaulted rooms, while simultaneously engaging in a dialogue with the museum’s collection in an adjoining room.
Born in Edinburgh in 1959, Peter Doig is considered one of the most important living painters. The artist has not held a solo exhibition in France for fifteen years. A frequent visitor to and great admirer of the Musée d’Orsay’s collections, Peter Doig accepted Christophe Leribault’s invitation and chose to present some of his major works within the exceptional setting of the museum’s vaulted rooms, while simultaneously engaging in a dialogue with the museum’s collection in an adjoining room.
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